В этом альбоме Эдди Ван Хален заложил новый стандарт игры на электрогитаре и положил начало целому поколению гитаристов, использующих его уникальный стиль и подход. Инструментальная композиция «Eruption», отлично иллюстрирует его мастерство в тэппинге. На обложке альбома Эдди изображен со своей знаменитой гитарой Frankenstrat.

Sex Affairs is the debut album from German Eurodance project E-Rotic. It was released 1995 and was a typical eurodance album of the 1990s. It provided three international hit singles : "Max Don't Have Sex With Your Ex", "Fred Come to Bed" and "Sex on the Phone", and included two remixes of the two first hits. The album itself achieved success in Finland where it topped the chart for three weeks and remained in the top 30 for 15 weeks. It was also successful, but not as much, in Germany where it peaked at number 16 and was charted for 16 weeks. In Austria, the album reached number 15 and fell off the top 50 after 16 weeks.

Robert Plant's follow-up to Pictures at Eleven implements much of his debut's style and vocal meandering into a new and more exciting bunch of songs. The mysteriousness of "Big Log," the album's first single, reached the Top 20 in the United States and in the U.K., while "In the Mood" is The Principle of Moments' finest offering, proving that Plant could roam freely with his voice and still have it work effectively. But Plant doesn't stop here, as he gives tracks like "Wreckless Love," "Stranger Here...Than Over There," and "Other Arms" an equal amount of curt abstractness and rock appeal.

Rock or Bust will be the band's first album without founding member and rhythm guitarist Malcolm Young, who left the band in 2014 for health reasons. Malcolm's departure was later clarified by the band and their management, saying that Malcolm was officially diagnosed with dementia and will possibly never play again.

Reception of the album was generally positive. Allmusic critic Stephen Thomas Erlewine gave 4 stars out of 5 to the album writing that "this is Ferry's prime, a moment when his legacy was intact but yet to be preserved in amber" and that the album "consciously evokes this distinct period, sometimes sighing into the exquisite ennui of Avalon but usually favoring the fine tailoring of Boys and Girls, a record where every sequenced rhythm, keyboard, and guitar line blended into an alluring urbane pulse" and that "the songs are what makes this record something more than a fling".